Vocal Wisdom- maxims -

a seminar on the teachings ofMasters of the "bel canto" school of singing

Some thoughts:

A Maxim is a truth. One truth opens the door to alltruth.

"Bel canto" - literal italian "beautiful singing" whichare the proclaimed ideals of purity of vowels,flexability and legato.

"These teachers (bel canto masters) made few rules, butinsisted on obedience to natural laws, which arephysical, not anatomical. The ear, not the muscles,guided both master and pupil..." Wm. Earl Brown

If the student asks, the answer is no.

Define the goal in singing: to create a stream of expression whichis born of and captivates the soul, to find the love of self thatpermits love of others and of life, to discover the joy of givingof self that nourishes the soul.

Motivate the goal: to feel and live out the high and beautifulplane of consciousness which unites mind and body in song, and ingiving a performance, to receive the return of energy and love fromthe souls of the listeners

Choose a path toward the goal: decision to be a "singer intraining" for life, resolve to cultivate a beautiful art form,acceptance of the identity of a singer

Keep the goal out in front: priorities, a daily plan and a masterplan, an unfailing sense of purpose, unconcerned about comparativecompetition, a race with oneself, measuring progress by then andnow, not them and me, focused and forward moving.

Exercises: not the part for which we became singers, but the onlyway to excell. Make the exercises become elemental and fascinatingto mind and body, like meditation.

Create a singing environment.

Never sing an indifferent tone. Never sing "by wrote." Neverwaste your time or the patience of your listeners by beinguninvolved. Have the courage to lose yourself, but neverrelinquish control.

Three elements to all musical tones:Attack - Sustain - Release

Three ideals of the bel canto singing tone:Legato - Pure Vowels - Flexability

Group exercises:

Posture - Breath - Tone initiation - Sustenuto - Release

The singing cycle - continuous

Vowels - resonance colors and forms

Tuning the tone

Speech and Singing - What is the difference? What is the same?

Get in touch with the many ways we breathe:Continuous, cyclical breathing - cooling the soup, blowing out acandle, sneezing, yawning, coughing, being cold, hot, out ofbreath, relaxed, sleeping, scared, relieved, sighing, surprised,gasping, lifting something heavy, defacating, giving birth,releasing...

Get in touch with the many ways we vocalize:Speaking, humming, laughing, mumbling, shouting, giggling...

Two main reasons for Stage Fright:UnderpreparedOverprepared

Crowds are frightening when they are milling around in thereception area. Once they are seated and quiet, ready to listen,they are organized into one collective consciousness, yourrelationship to an audience is one on one. You can handle that.

If you know yourself, know your song, you can forget them both andbe a performer, with trust and without trepidation.

Because your singing is a product of the imperical laws of physics,you cannot fail.

All thing being equal, the human singing voice fascinates more thanany musical instrument.

If you express the music and the words, you will hold youraudience.

Elizabeth ParcellsLearning at the Detroit Opera HouseJuly 9 and 10, 1998

SyllabusVoice Class at Schoolcraft College

Teacher – Elizabeth ParcellsPianist – Gene Bossart (Larry Picard)Notebooks, writing materials, and music paperBooks (Vocal Wisdom, exercise and technique books, pedagogy materials)One Piano in the Forum, or in a large studioPractice room availability for students between classes

Voice Class I – Elements - Beginners

A voice class for young or beginning singers, or for singers wishing to refresh their focus on theelements upon which the cultivation of the singing voice is built. The class will include a seriesof lectures (hopefully short) on these elements, as well as the development of a workbook ofvocal exercises for daily practice. Students will learn how to create individual vocal trainingroutines for their own voices, how to work autonomously and in the group to train and strengthentheir voices, coordinate and utilize the breath, educate and tune their hearing, and build awarenessof the nature of their singing.

Students participating will have three songs prepared, at least one of which is in Italian. No operaarias please. Students will sing for the class and receive instruction.

Voice Class II – Cultivation - Intermediate

A voice class for singers of intermediate level or for singers wishing to refresh theirunderstanding of the study and cultivation of the singing voice. The class will include a series oflectures (maybe not so short) on the study of language and literature for singing, of musical andvocal style and presentation, as well as a continuing discussion of singing techniques and vocaltraining. Students will learn how to make use of vocal techniques to meet the requirements of themusic they are singing, to train and work with language and phonetics in their vocal exercises andrepertoire, developing a workbook for individual study. They will build awareness of musicaland vocal style and of expression in their singing.

Students participating will have three songs prepared, at least one of which is in a foreignlanguage (preferably Italian, French or German), and may present selected opera a rias which areappropriate to their level of ability. Students will sing for the class and receive instruction.

Voice Class III – Performance - Advanced

A voice class for singers preparing for a career in singing, or for advanced singers wishing tolearn the art of performance before an audience. The class will include a series of lectures (veryshort indeed) on various performance practices, deportment, etiquette and stage presence.Students will present their repertoire to the class and will receive feedback and guidance on theirperformances. This class will be conducted in the "master class" format.

Singers participating will have eight pieces prepared from song, oratorio and operatic repertoire.They will submit usable English translations of their repertoire to print in a concert program.They will be prepared to perform this repertoire before the class as well as before an audience inproper performance attire at a public performance.

Schoolcraft CollegeVoice Class 2000

Elements in Singing

Essay by Elizabeth Parcells

With quotations from"Vocal Wisdom — the Maxims of Giovanni Ba ttista Lamperti"

Singing — the Mechanism and the Technic by William Vennard

Expression

Singing has had as many forms as there have been singers through the ages and all over

the world. It is like a fingerprint, unique to each individual. Lamperti: "Each voice is a

law unto itself." Singing, like the smile, is a universal form of human expression. There

is a theory that mankind began to sing before it learned to speak. If this is so, singing

must be so elemental to our being and so imbedded in our culture that one could

reasonably surmise that we must all be accomplished natural singers.

Lamperti: "The human being is the most perfectly adjusted musical instrument inexistence."

It is safe to say that the potential for great singing slumbers in us all. Every healthy

individual is given a pair of lungs and vocal cords, learns to speak and is taught a few

songs in early childhood. The difference between the many who sing and the one who

becomes a singer is as mysterious as the phenomenon of individuality itself. Everyone

can sing; but the singer must sing.

Lamperti: "What is the sensation of being ready to sing? It is a subjective feelingassociated with the insistent desire to sing!"

Elements in Singing Page 2An Essay by Elizabeth Parcells

Singing is the outward expression of our thoughts and desires. Lamperti: "Your a rt is the

fulfillment of your elemental desire to sing." It can be as spontaneous as a smile or as

cultivated as an aria. The purpose is the same, to satisfy the compelling desire to express

oneself.

Lamperti: "Don't sing until you'd die if you didn't."

There is another important distinction to be made between those who sing and the singer;

many people sing for their own enjoyment, but the singer edifies his audience, not just

himself The singer cultivates his art and masters his craft to make his singing appealing

and expressive.

Of the many forms of singing that exist; the Italian Bel Canto (beautiful singing) style is

the undisputed standard for classical, operatic singing. It began in Florence some 500

years ago when certain ideals for singing were established, the three most impo rtant

being:

1. Pure Vowels — The words of the poet are served by the music. The singer learns toform clear, beautiful vowel colors to express those words, not only for their linguisticmeaning, but also for the aesthetic quality of the language itself, lending a variety ofcolors to the singing tones.

2. Legato — "the carrying of the voice or the imperceptible merging of one tone into theother. Between one tone and the next the breath may not be interrupted, but must beheld as though the tones were one." The smooth movement from one tone to thenext, creating expressive phrasing and beautiful line.

3. Flexibility — The ability to sing a wide range of notes at any given speed, in anygiven dynamic, with a wide range of colors, on one breath.

These three ideals are the elements of classical singing technique, as we know it today.

These are the techniques that singers train for years to master. The three ideals are

attainable through one vital element: the breath. This element delivers energy, stability

and movement to the singing tone. There is hardly a fault in singing that cannot be

Elements in Singing Page 3An Essay by Elizabeth Parcells

blamed on poor management of the breath. The hallmark of great singing is awesome

breath energy and control.

Beyond pure technical elements, great singing depends on the artistic personality of the

singer, which develops through cultural influences and education. Lamperti: "Utilize

your time studying piano, the theory of music, and reading at sight. Broaden your

knowledge of literature, painting, etc. the `beaux arts.' This increases your `desire' for

beauty, from which springs the instinct to sing."

Nowhere in these ideals is the quality or quantity of physical "voice" mentioned.

Lamperti: "It matters not whether your voice be phenomenal or even beautiful, ifit expresses the music and the words you will have an interested audience. Thelargeness of that audience depends upon the quantity of personality you are ableto put into your performance. If you are magnetic, the world is yours."

The elements of expression in singing then are

• vocal technique

• musical language

• artistic personality.

We can do little to change the nature of our voices, but we can accomplish much in

mastering technique and developing an artistic personality. Those who feel that their

natural voices are less than ideal can take heart. The voice, by itself, is not an element

of expression. Despite all the modem debates about size and scope of voices, as if

singers were merely walking amplifiers, one truth remains: A great performance is

moving and memorable because it is expressive.

Lamperti: "The Soul of a Singer

The soul of a singer demands technique of both voice and breath before

it will emerge as tone. Intense vibration and adequate energy must be

ever available.Overtones are its colors:

Rhythm is its heartbeat:Resonance its body:

Elements in Singing Page 4An Essay by Elizabeth Parcells

Vowels the forms it assumes:Consonants are its hands:Emotion is its lifeblood:Imagination its ears and eyes:Thought its feet:Desire its wings:Melody is its language.The soul of a singer is the subconscious self.It can use the body and mind only after these are disciplined by theconscious self."

A Brief Discussion of the Breath

Breath or breath energy is the most basic subject of study for the singer. The reason is

that the singing tone is impossible without it. What modern person studies and exercises

his breath today, besides the athlete and the singer? Most people are unaware of their

breath or posture most of the time. Of course, they will never excel at singing. Many

singers and teachers of singing neglect the breath in lessons and practice out of boredom

with the subject or because of lack of understanding. It is the single most impo rtant

element in the production of the singing tone.

Lamperti states: "A tone must be self-starting, self-prolonging and self-stopping."To make this possible, complete management of breathing is an indispensablenecessity. Generally, faulty singing is caused by awkward respiration. In fact, allbad habits of the throat are merely efforts of protection against clumsymanagement of the breath.

The exercise of the breath by itself seems a d ry and useless activity for the singer that

wishes to make sounds and not to merely draw air in and (out. Therefore, it is wise to

consider the exercise of the breath as part of every vocal exercise.

There are three types of breath or respiration in singing:

• Abdominal or Diaphragmatic (low)• Lateral (middle)• Intercostal or Clavicular (high)

Elements in Singing Page 5An Essay by Elizabeth Parcells

The ideal method is considered to be the first one, abdominal. Nevertheless, it is a

combination of these breath types that comes into play, depending on the demands of the

music.

Establishing good posture is the first step toward educating the breath. An exercise to

draw the singer up to full height and to open the ribcage allowing space for the abdominal

muscles to move and work should begin the singer's exercise session. Consciousness and

energy of breath will carry the voice over the initial tones in the exercises.

Abdominal (diaphragmatic) breathing should be the focus of attention in practicing the

breath, since this type of low breath is rarely called upon in daily life. A singer needs to

get in touch with his low breath. The athlete knows this type of breathing, because he

will resort to it during phases of heavy exertion. The marathon runner knows it because

it is the most efficient way to exchange the air in the lungs without undue effo rt during a

long race. The singer prizes the low breath for the ability to inhale a large amount of air

without effort in a short time.

The muscle responsible for the inhalation of air is the diaphragm. This muscle, shaped

like an upside-down bowl and located horizontally between the upper and lower thorax

(below the heart and lungs, but above the stomach and liver), is the strongest muscle in

the body, next to the heart itself. When it contracts, it displaces the organs of the lower

thorax, creating space in the upper thorax for the lungs to expand, drawing in air to fill

that space. When the diaphragm releases, the lower thorax organs can return to their "at

rest" positions, space in the upper thorax decreases, and the air in the lungs is exhaled.

Normally, this cycle of inhalation and exhalation takes place throughout our days and

nights without our giving it much attention

Elements in Singing Page 7An Essay by Elizabeth Parcells

breathing rates. This is useful for the singer to understand, in not only building the

strength and flexibility of the singing voice, but also for handling stressful situations such

as the singing of demanding music or nerves and excess adrenalin during performance.

The singer breathes like a weightlifter; passive inhalation, active exhalation. The

diaphragm is so adept and strong, it can manage inhalation without strain or effo rt . The

active exhalation requires the muscles of the abdomen to contract, pushing the lower

thorax upward and forcing the air to escape from the lungs quickly and forcefully. This

blast of air can be turned into sound by allowing the vocal folds to be sucked together and

vibrate. However, an uncontrolled blast leads to more of a shout or a grunt than a

pleasing musical tone.

In this case, controlling the flow of air is imperative for the singer. The abdominal

muscles can be trained to deliver the correct degree of contraction to move the air

through the vocal cords at the correct rate. However, it is the counteraction of the

diaphragm that is the key to breath control. Again, this fascinating muscle is capable of

its task without much thought on the part of the singer. When the "abs" contract, the

diaphragm reacts with contractions of its own to balance and counterbalance the abs,

controlling the amount of air pressure brought to bear against the larynx. This means that

the larynx is not forced to react with contractions of its own to inhibit the excess flow of

air and the vocal cords can vibrate "freely."

There are several points to keep in mind at all times when singing, whether during

vocalizing or the singing of music:

• You must be conscious of your breathing at all times, monitoring your breathcapacity and watching for opportunities to inhale additional air according tocurrent needs, which can have changed with the situation

• The breath is in motion at all times, it never arrests during tones or betweenphrases, as in speech; the singing breath is always moving

• Your posture must never collapse or go lazy; never breathe or sing indifferently

Elements in Singing Page 8An Essay by Elizabeth Parcells

• Breath energy gives the tone and the diction its energy, projecting your voice andwords into the hall to your listeners; never allow your energy to flag

• Use economy and efficiency by gauging your situation and taking what youneed, no less and no more. Run your race wisely.

A brief discussion of Singing Tone upon the Breath (Attack)

The tone itself begins in the larynx where the vocal cords or folds are located. As air is

exhaled, the larynx takes up a position so that the folds can be drawn together by the flow

of air and begin to vibrate. The effect that causes this was described by and is named for

the physicist Bernoulli. This aerodynamic effect also describes the theory of loft and

flight, explaining the motion of air molecules over and under a foil or an airplane wing.

To imagine how the Bernoulli effect causes the vocal cords to vibrate when air is passed

between them (through the glottis which is the space between the vocal cords), visualize

an American flag in a steady, stiff wind; drawn up and fluttering. This fluttering is much

like the vibration of the vocal cords. Now visualize the flag in a gentle, fluctuating

breeze; its motion is very different, it moves and waves, but there is no "vibration" along

its edge. The flag is entirely passive, and therefore entirely dependent on the wind to

make it move and flutter.

Think of your vocal cords the same way, as passive and reliant on the stream of (exhaled)

air for their vibration as the linen flag upon the wind. This exhaled air is something you

control. Your vocal tone is an effect which you control indirectly via the direct control of

your breath.

So the initiation of singing tone upon the breath is possible by aerodynamic effect,

without muscular effort in the throat, the way flight is possible upon the movement of air,

without flapping the wings. Students of singing learn this concept so that they

understand the impo rtance of breath management for achieving free and "effortless" tone

production.

Elements in Singing Page 9An Essay by Elizabeth Parcells

A brief discussion of Formants and Vowels

Having drawn breath and initiated tone in the larynx, the next pa rt of the singing tone

equation is the formant or vowel. It is the shape of the vocal tract, that is the spaces

around the vocal cords known as resonators, which determines the color of the tone.

Points to remember:

• any resonator is a secondary vibrator

• the vocal resonator is a column of air within a space or chamber, not a "sounding

board"

• the shapes of the vocal resonators are complex and highly va riable

These spaces include the pharynx, the nasal cavity, the mouth, and to some extent, the

trachea. These spaces are resonating chambers. The mouth and pha rynx can change

shape, largely by movement of the tongue, lips and jaw, also by positioning the larynx.

The nasal cavity and trachea have little capability for changing their shapes.

The resonators are capable of vibrating as a whole or in several ways at once in its pa rts.

Most vibrators do this, creating timbre, which consists of several frequencies of different

intensities sounding together. (Vennard)

With this diversity of colors available to the singer, it is hard to imagine why some

singers choose to sing almost entirely on one vowel color, muddying their diction and

making their singing monotonous. The problem may well lie in an insufficient breath

and a throat fighting to compensate for this lack of breath energy. A tone that is well

supplied with and supported by breath energy is capable of infinitely more nuance and

expression.

Elements in Singing Page 10An Essay by Elizabeth Parcells

The vowels pronounced in speech are formed by positioning the tongue and/or lips, the

formants. These formants change the shape of the resonators of the voice, changing the

timbre of the singing tone.

Elements in Singing

Essay by Elizabeth Parcells

With quotations from “Vocal Wisdom – the Maxims of Giovanni Battista Lamperti”

Singing – the Mechanism and the Technic by William Vennard Expression Singing has had as many forms as there have been singers through the ages and all over

the world. It is like a fingerprint, unique to each individual. Lamperti: “Each voice is a

law unto itself.” Singing, like the smile, is a universal form of human expression. There

is a theory that mankind began to sing before it learned to speak. If this is so, singing

must be so elemental to our being and so imbedded in our culture that one could

reasonably surmise that we must all be accomplished natural singers.

Lamperti: “The human being is the most perfectly adjusted musical instrument in existence.”

It is safe to say that the potential for great singing slumbers in us all. Every healthy

individual is given a pair of lungs and vocal cords, learns to speak and is taught a few

songs in early childhood. The difference between the many who sing and the one who

becomes a singer is as mysterious as the phenomenon of individuality itself. Everyone

can sing; but the singer must sing.

Lamperti: “What is the sensation of being ready to sing? It is a subjective feeling associated with the insistent desire to sing!”

Singing is the outward expression of our thoughts and desires. Lamperti: “Your art is the

fulfillment of your elemental desire to sing.” It can be as spontaneous as a smile or as

cultivated as an aria. The purpose is the same, to satisfy the compelling desire to express

oneself.

Lamperti: “Don’t sing until you’d die if you didn’t.”

Elements in Singing Page 2 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

2

There is another important distinction to be made between those who sing and the singer;

many people sing for their own enjoyment, but the singer edifies his audience, not just

himself. The singer cultivates his art and masters his craft to make his singing appealing

and expressive.

Of the many forms of singing that exist; the Italian Bel Canto (beautiful singing) style is

the undisputed standard for classical, operatic singing. It began in Florence some 500

years ago when certain ideals for singing were established, the three most important

being:

1. Pure Vowels – The words of the poet are served by the music. The singer learns to form clear, beautiful vowel colors to express those words, not only for their linguistic meaning, but also for the aesthetic quality of the language itself, lending a variety of colors to the singing tones.

2. Legato – “the carrying of the voice or the imperceptible merging of one tone into the

other. Between one tone and the next the breath may not be interrupted, but must be held as though the tones were one.” The smooth movement from one tone to the next, creating expressive phrasing and beautiful line.

3. Flexibility – The ability to sing a wide range of notes at any given speed, in any

given dynamic, with a wide range of colors, on one breath.

These three ideals are the elements of classical singing technique, as we know it today.

These are the techniques that singers train for years to master. The three ideals are

attainable through one vital element: the breath. This element delivers energy, stability

and movement to the singing tone. There is hardly a fault in singing that cannot be

blamed on poor management of the breath. The hallmark of great singing is awesome

breath energy and control.

Beyond pure technical elements, great singing depends on the artistic personality of the

singer, which develops through cultural influences and education. Lamperti: “Utilize

your time studying piano, the theory of music, and reading at sight. Broaden your

Elements in Singing Page 3 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

3

knowledge of literature, painting, etc. the ‘beaux arts.’ This increases your ‘desire’ for

beauty, from which springs the instinct to sing.”

Nowhere in these ideals is the quality or quantity of physical “voice” mentioned.

Lamperti: “It matters not whether your voice be phenomenal or even beautiful, if it expresses the music and the words you will have an interested audience. The largeness of that audience depends upon the quantity of personality you are able to put into your performance. If you are magnetic, the world is yours.”

The elements of expression in singing then are

• vocal technique

• musical language

• artistic personality.

We can do little to change the nature of our voices, but we can accomplish much in

mastering technique and developing an artistic personality. Those who feel that their

natural voices are less than ideal can take heart. The voice, by itself, is not an element

of expression. Despite all the modern debates about size and scope of voices, as if

singers were merely walking amplifiers, one truth remains: A great performance is

moving and memorable because it is expressive.

Lamperti: “The Soul of a Singer

The soul of a singer demands technique of both voice and breath before it will emerge as tone. Intense vibration and adequate energy must be ever available. Overtones are its colors: Rhythm is its heartbeat: Resonance its body: Vowels the forms it assumes: Consonants are its hands: Emotion is its lifeblood: Imagination its ears and eyes: Thought its feet: Desire its wings: Melody is its language. The soul of a singer is the subconscious self. It can use the body and mind only after these are disciplined by the conscious self.”

Elements in Singing Page 4 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

4

A Brief Discussion of the Breath

Breath or breath energy is the most basic subject of study for the singer. The reason is

that the singing tone is impossible without it. What modern person studies and exercises

his breath today, besides the athlete and the singer? Most people are unaware of their

breath or posture most of the time. Of course, they will never excel at singing. Many

singers and teachers of singing neglect the breath in lessons and practice out of boredom

with the subject or because of lack of understanding. It is the single most important

element in the production of the singing tone.

Lamperti states: “A tone must be self-starting, self-prolonging and self-stopping.” To make this possible, complete management of breathing is an indispensable necessity. Generally, faulty singing is caused by awkward respiration. In fact, all bad habits of the throat are merely efforts of protection against clumsy management of the breath.

The exercise of the breath by itself seems a dry and useless activity for the singer that

wishes to make sounds and not to merely draw air in and out. Therefore, it is wise to

consider the exercise of the breath as part of every vocal exercise.

There are three types of breath or respiration in singing:

• Abdominal or Diaphragmatic (low) • Lateral (middle) • Intercostal or Clavicular (high)

The ideal method is considered to be the first one, abdominal. Nevertheless, it is a

combination of these breath types that comes into play, depending on the demands of the

music.

Establishing good posture is the first step toward educating the breath. An exercise to

draw the singer up to full height and to open the ribcage allowing space for the abdominal

muscles to move and work should begin the singer’s exercise session. Consciousness and

energy of breath will carry the voice over the initial tones in the exercises.

Elements in Singing Page 5 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

5

Abdominal (diaphragmatic) breathing should be the focus of attention in practicing the

breath, since this type of low breath is rarely called upon in daily life. A singer needs to

get in touch with his low breath. The athlete knows this type of breathing, because he

will resort to it during phases of heavy exertion. The marathon runner knows it because

it is the most efficient way to exchange the air in the lungs without undue effort during a

long race. The singer prizes the low breath for the ability to inhale a large amount of air

without effort in a short time.

The muscle responsible for the inhalation of air is the diaphragm. This muscle, shaped

like an upside-down bowl and located horizontally between the upper and lower thorax

(below the heart and lungs, but above the stomach and liver), is the strongest muscle in

the body, next to the heart itself. When it contracts, it displaces the organs of the lower

thorax, creating space in the upper thorax for the lungs to expand, drawing in air to fill

that space. When the diaphragm releases, the lower thorax organs can return to their “at

rest” positions, space in the upper thorax decreases, and the air in the lungs is exhaled.

Normally, this cycle of inhalation and exhalation takes place throughout our days and

nights without our giving it much attention

Elements in Singing Page 6 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

6

.

Our breathing mechanism, largely the work of the diaphragm, is an interesting

combination of voluntary and involuntary reflexes. The muscles of the limbs, for

instance, are voluntary, answering the conscious commands of the brain. Activities such

as digestion and heartbeat are involuntary, independent of the conscious brain. The

breathing mechanism is both; involuntary during sleep or unconsciousness, voluntary at

times when the conscious mind chooses to take control of it. You can hold your breath,

but you cannot (or should not!) command your heart to cease beating.

Breathing, like heart action, is also influenced by subjective factors such as moods (fear,

happiness, sadness) or levels of exertion (running, lifting, climbing, swimming).

Through control of the subjective mind, you can indirectly control your heart and

Elements in Singing Page 7 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

7

breathing rates. This is useful for the singer to understand, in not only building the

strength and flexibility of the singing voice, but also for handling stressful situations such

as the singing of demanding music or nerves and excess adrenalin during performance.

The singer breathes like a weightlifter; passive inhalation, active exhalation. The

diaphragm is so adept and strong, it can manage inhalation without strain or effort. The

active exhalation requires the muscles of the abdomen to contract, pushing the lower

thorax upward and forcing the air to escape from the lungs quickly and forcefully. This

blast of air can be turned into sound by allowing the vocal folds to be sucked together and

vibrate. However, an uncontrolled blast leads to more of a shout or a grunt than a

pleasing musical tone.

In this case, controlling the flow of air is imperative for the singer. The abdominal

muscles can be trained to deliver the correct degree of contraction to move the air

through the vocal cords at the correct rate. However, it is the counteraction of the

diaphragm that is the key to breath control. Again, this fascinating muscle is capable of

its task without much thought on the part of the singer. When the “abs” contract, the

diaphragm reacts with contractions of its own to balance and counterbalance the abs,

controlling the amount of air pressure brought to bear against the larynx. This means that

the larynx is not forced to react with contractions of its own to inhibit the excess flow of

air and the vocal cords can vibrate “freely.”

There are several points to keep in mind at all times when singing, whether during

vocalizing or the singing of music:

• You must be conscious of your breathing at all times, monitoring your breath capacity and watching for opportunities to inhale additional air according to current needs, which can have changed with the situation

• The breath is in motion at all times, it never arrests during tones or between

phrases, as in speech; the singing breath is always moving • Your posture must never collapse or go lazy; never breathe or sing indifferently

Elements in Singing Page 8 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

8

• Breath energy gives the tone and the diction its energy, projecting your voice and

words into the hall to your listeners; never allow your energy to flag

• Use economy and efficiency by gauging your situation and taking what you need, no less and no more. Run your race wisely.

A brief discussion of Singing Tone upon the Breath (Attack) The tone itself begins in the larynx where the vocal cords or folds are located. As air is

exhaled, the larynx takes up a position so that the folds can be drawn together by the flow

of air and begin to vibrate. The effect that causes this was described by and is named for

the physicist Bernoulli. This aerodynamic effect also describes the theory of loft and

flight, explaining the motion of air molecules over and under a foil or an airplane wing.

To imagine how the Bernoulli effect causes the vocal cords to vibrate when air is passed

between them (through the glottis which is the space between the vocal cords), visualize

an American flag in a steady, stiff wind; drawn up and fluttering. This fluttering is much

like the vibration of the vocal cords. Now visualize the flag in a gentle, fluctuating

breeze; its motion is very different, it moves and waves, but there is no “vibration” along

its edge. The flag is entirely passive, and therefore entirely dependent on the wind to

make it move and flutter.

Think of your vocal cords the same way, as passive and reliant on the stream of (exhaled)

air for their vibration as the linen flag upon the wind. This exhaled air is something you

control. Your vocal tone is an effect which you control indirectly via the direct control of

your breath.

So the initiation of singing tone upon the breath is possible by aerodynamic effect,

without muscular effort in the throat, the way flight is possible upon the movement of air,

without flapping the wings. Students of singing learn this concept so that they

understand the importance of breath management for achieving free and “effortless” tone

production.

Elements in Singing Page 9 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

9

A brief discussion of Formants and Vowels

Having drawn breath and initiated tone in the larynx, the next part of the singing tone

equation is the formant or vowel. It is the shape of the vocal tract, that is the spaces

around the vocal cords known as resonators, which determines the color of the tone.

Points to remember:

• any resonator is a secondary vibrator

• the vocal resonator is a column of air within a space or chamber, not a “sounding

board”

• the shapes of the vocal resonators are complex and highly variable

These spaces include the pharynx, the nasal cavity, the mouth, and to some extent, the

trachea. These spaces are resonating chambers. The mouth and pharynx can change

shape, largely by movement of the tongue, lips and jaw, also by positioning the larynx.

The nasal cavity and trachea have little capability for changing their shapes.

The resonators are capable of vibrating as a whole or in several ways at once in its parts.

Most vibrators do this, creating timbre, which consists of several frequencies of different

intensities sounding together. (Vennard)

With this diversity of colors available to the singer, it is hard to imagine why some

singers choose to sing almost entirely on one vowel color, muddying their diction and

making their singing monotonous. The problem may well lie in an insufficient breath

and a throat fighting to compensate for this lack of breath energy. A tone that is well

supplied with and supported by breath energy is capable of infinitely more nuance and

expression.

The vowels pronounced in speech are formed by positioning the tongue and/or lips, the

formants. These formants change the shape of the resonators of the voice, changing the

Elements in Singing Page 10 An Essay by Elizabeth Parcells

Vocal Wisdom Class Learning @ the Opera House 2000

10

timbre of the singing tone. The pure “ah” (father) vowel is formed with the tongue in a

moderately relaxed position and the lips moderately opened. The tongue rises to form

“eh” (feather) and “ee” (feet) while leaving the jaw and lips in an open position.

Likewise, from the pure “ah” vowel position, the lips close around the mouth to form the

“aw” (awful), “oh” (nobody) and “oo” (soon) vowels.

The singer understands vowels to be colors of the singing tone, not just sounds in

language. Vowels are a vital part of the singer’s vocal exercise routine, since vowels

affect the placement and focus of the singing tone differently on given notes in the scale.

The singer must utilize various vowels during vocalization in a methodical manner in

order to exercise the singing voice on different vowels throuhout the range. The value of

this practice will be apparent in the clarity of the words sung in songs and arias. The

clarity of the words is a vital element of expression in the art of singing.

This essay is a work in progress. I welcome comments and discussion from serious

students of singing. Chapters will be added and existing ones expanded over time.

Thank you for your attention.

EP